A SCHOLARLY BOOK REPOSITORY
What makes a great city? Not a good city or a functional city but a great city. A city that people admire, learn from, and replicate. City planner and architect Alexander Garvin set out to answer this question by observing cities, largely in North America and Europe, with special attention to Paris, London, New York, and Vienna.
For Garvin, greatness is not just about the most beautiful, convenient, or well-managed city; it isn’t even about any “city.” It is about what people who shape cities can do to make a city great. A great city is not an exquisite, completed artifact. It is a dynamic, constantly changing place that residents and their leaders can reshape to satisfy their demands. While this book does discuss the history, demographic composition, politics, economy, topography, history, layout, architecture, and planning of great cities, it is not about these aspects alone. Most importantly, it is about the interplay between people and public realm, and how they have interacted throughout history to create great cities.
To open the book, Garvin explains that a great public realm attracts and retains the people who make a city great. He describes exactly what the term public realm means, its most important characteristics, as well as providing examples of when and how these characteristics work, or don’t. An entire chapter is devoted to a discussion of how particular components of the public realm (squares in London, parks in Minneapolis, and streets in Madrid) shape people’s daily lives. He concludes with a look at how twenty-first century initiatives in Paris, Houston, Atlanta, Brooklyn, and Toronto are making an already fine public realm even better—initiatives that demonstrate what other cities can do to improve.
What Makes a Great City will help readers understand that any city can be changed for the better and inspire entrepreneurs, public officials, and city residents to do it themselves.
For better or worse, museums are changing from forbidding bastions of rare art into audience-friendly institutions that often specialize in “blockbuster” exhibitions designed to draw crowds. But in the midst of this sea change, one largely unanswered question stands out: “What makes a great exhibition?” Some of the world’s leading curators and art historians try to answer this question here, as they examine the elements of a museum exhibition from every angle.
What Makes a Great Exhibition? investigates the challenges facing American and European contemporary art in particular, exploring such issues as group exhibitions, video and craft, and the ways that architecture influences the nature of the exhibitions under its roof. The distinguished contributors address diverse topics, including Studio Museum in Harlem director Thelma Golden’s examination of ethnically-focused exhibitions; and Robert Storr, director of the 2007 Venice Biennale and formerly of the Museum of Modern Art, on the meaning of “exhibition and “exhibitionmaker.”
A thought-provoking volume on the practice of curatorial work and the mission of modern museums, What Makes A Great Exhibition? will be indispensable reading for all art professionals and scholars working today.
In 2003, Lebanese writer Rashid al-Daif spent several weeks in Germany as part of the “West-East Divan” program, a cultural exchange effort meant to improve mutual awareness of German and Middle Eastern cultures. He was paired with German author Joachim Helfer, who then returned the visit to al-Daif in Lebanon. Following their time together, al-Daif published in Arabic a literary reportage of his encounter with Helfer in which he focuses on the German writer’s homosexuality. His frank observations have been variously read as trenchant, naïve, or offensive. In response, Helfer provided an equally frank point-by-point riposte to al-Daif’s text. Together these writers offer a rare exploration of attitudes toward sex, love, and gender across cultural lines. By stretching the limits of both fiction and essay, they highlight the importance of literary sensitivity in understanding the Other.
Rashid al-Daif’s “novelized biography” and Joachim Helfer’s commentary appear for the first time in English translation in What Makes a Man? Sex Talk in Beirut and Berlin. Also included in this volume are essays by specialists in Arabic and German literature that shed light on the discourse around sex between these two authors from different cultural contexts.
From the climate crisis to the opioid crisis to the Coronavirus crisis, the language of crisis is everywhere around us and ubiquitous in contemporary American politics and policymaking. But for every problem that political actors describe as a crisis, there are myriad other equally serious ones that are not described in this way. Why has the term crisis been associated with some problems but not others? What has crisis come to mean, and what work does it do?
In When Bad Things Happen to Privileged People, Dara Z. Strolovitch brings a critical eye to the taken-for-granted political vernacular of crisis. Using systematic analyses to trace the evolution of the use of the term crisis by both political elites and outsiders, Strolovitch unpacks the idea of “crisis” in contemporary politics and demonstrates that crisis is itself an operation of politics. She shows that racial justice activists innovated the language of crisis in an effort to transform racism from something understood as natural and intractable and to cast it instead as a policy problem that could be remedied. Dominant political actors later seized on the language of crisis to compel the use of state power, but often in ways that compounded rather than alleviated inequality and injustice. In this eye-opening and important book, Strolovitch demonstrates that understanding crisis politics is key to understanding the politics of racial, gender, and class inequalities in the early twenty-first century.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press